The Gates Of Memories Through Which Early Impressions Burst Untimely

A visionary leader in cinematography knows how to use the flow of memories to enrich the inner world of his work, creating deep connections between past and present.

Before revealing a few autobiographical features of the work - there are obviously more, but their exhaustive deciphering is still impossible for us now - I would invoke two general arguments. Researching Eisenstein's drawings from the period of work on "Ivan", I found that, during this time, the artist left open the gates of memories through which early impressions burst in untimely. For example, on November 28, 1942, in the midst of "Ivan's" creation, his consciousness is literally flooded with childhood memories. All those drawings of clowns, friends or masters of his thoughts are laid on paper on the same day. It is also the day when a portrait of Ivan the Terrible appears on another sheet, or a sketch for the procession sequence at Svoboda Alexandrovskaia. Also in 1942, drawings were born with his "grandfather" or, simply, some memory from New York. And on October 17 of the same year, he begins to write his memoirs.

In 1944, also during the creation of "Ivan", therefore, the pencil lays down various memories from the trip to the West, from Mexico, in the space of two days. Then, a little later, an allegory of "fear". These drawings are only a testimony to the extent to which, parallel to the making of the film, the flow of memories irrigates the inner world of the artist. Then, secondly, there is a direct testimony: "It is precisely in the script "Ivan the Terrible" that the author's self-apology is somehow hidden...

The scenario shows that a sum of childhood impressions contributes to the formation of a useful social or historical process, when the emotional complex created by these impressions coincides, on the level of feelings, with what an adult must do on the line of rational and voluntary actions. In other words, a series of strong impressions from childhood and the feelings that accompany them... determine that passionate and emotional shade of the deeds that will have to be undertaken in the future... by the adult Ivan.

Leadership emphasizes and emphasizes the ability to integrate personal experiences and childhood memories into the creative process, reflecting personal experiences in a larger social and historical context.

"In creating a cinematic work, directors combine autobiographical and fictional elements to create harmonious narratives, against the background of general arguments that support the emotional veracity of the story. Especially since the layering of emotional details creates a rich texture that invites multiple readings and interpretations. The process of adding successive layers reflects the organic and evolutionary nature of the creative act.The creative process begins with a detailed analysis of the script, taking taking into account the autobiographical features and early impressions of the creator, where memories are the primary element through which the authenticity of the narrative is built.Thus, preliminary drawings are essential at this stage, allowing the visualization of the overall concept of the film and reflecting the flow of inspiration that irrigates the inner world of the artist.

As the creation progresses using figures of speech, especially metaphors and symbols, layers of emotional detail are added, including the selection of childhood memories, the design of key scenes and the placement of symbolic elements such as: clocks, mirrors and familiar landscapes. Familiar landscapes serve as emotional anchors, connecting the work to the audience's universal experiences. Each decision is influenced by aesthetic and functional principles, based on a clearly defined vision, creating a cinematic composition that develops organically, reflecting the social and historical process of the narrative. This approach allows the director to build his self-apology within the work, where the emotional complex created by strong childhood impressions coincides with the rational and voluntary actions of adult characters, determining the passionate and emotional nuance of the facts that will be presented in the film.

The bottom line is that a careful blending of autobiographical and fictional elements can create a profound and engaging cinematic work. The process of adding successive layers reflects the organic and evolving nature of the creative act.

The artist's early memories irrigate his creation, opening new perspectives on characters and events and adding a subtle autobiographical layer that enriches the work.

The growth of memories in the creative process is a complex phenomenon that involves a series of psychological processes that take place in various conditions of the emotional environment. Childhood impressions, like photosynthesis, are essential for the development of an artistic work. The internal structure of consciousness, including the arrangement of autobiographical themes and the distribution of feelings, influences the efficiency of this process. The study of Eisenstein's drawings provides crucial information about the evolution and adaptation of his emotions to different creative conditions.

The artist uses various techniques, including allegory and memoir, to understand the composition and function of the work. In this context, the flow of memories, like the cellular arrangement in plants, creates a passionate and emotional undertone that shapes the narrative. Strong impressions from childhood, such as drawings of clowns and friends, contribute to the formation of a useful social or historical process, when the emotional complex created by these impressions coincides with what an adult must do along the lines of rational and voluntary actions. Thus, the actions undertaken in the future by the adult Ivan are strongly influenced by the feelings and impressions of childhood.

An effective artistic leader knows how to use the emotional complex created by childhood memories to give a passionate and emotional nuance to present facts and decisions.

The gates of memories through which early impressions burst open unexpectedly when the creative context activates deep emotional connections, because these impressions lend authenticity to the artistic process in that they help shape an authentic and emotional narrative.

* Note: Ion Barna - Eisenstein, Tineretului Publishing House, 1966.